• Journal of Families and Better Life
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• v.24 no.5 s.83
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• pp.113-128
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• 2006

This study was to verify the effectiveness of the Life Review-Narrative group therapy program on decreasing depression and death anxiety in the elderly. The program was organized according to a course of life from childhood to old age. The objectives were for the elderly to enhance self-worth, to become aware of their solitary existence, to accept aging and death, to accept the life: both past and present, and to make the most of experiences in overcoming difficulties. For the most part, the program used reminiscence and re-authoring of the narrative therapy as counseling techniques. Thirty-two elderly people(16 in the experimental group, 16 in the control group) aged 60 years and over were randomly selected from patients at the Daegu Metropolitan City General Welfare Center. Two groups were identified as equivalents for the study in the pre-test. The program for the experimental group was implemented twice a week for 90 minutes per session over a 6-week period(Sep. 8-Oct.14. 2005). The pre-test(Sep. 8 2005), the post-test(Oct. 14. 2005) and the follow-up test(Nov. 14. 2005) were implemented in order to verify the effectiveness of the programs. The instruments used in the study were the Geriatric Depression Scale Short Form(Korean Version) and the Death Anxiety Scale. The data were analyzed using t-testing and One-Factor Repeated Measures ANOVA. This study supplemented other qualitative research methods in order to verify the variation in the depression and death anxiety in the elderly. The findings of the study were as follows: Significant decrease in the depression and death anxiety were reported in the experimental group. The control group however did not show any significant changes in the depression and death anxiety rates. The result of the post hoc multiple comparisons showed that the effects of the life review-narrative group therapy program has lasted effects on decreasing of the death anxiety. Nevertheless, the effects of the life review-narrative group therapy program on decreasing depression are not lasting. The study has limitations so further research is suggested.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.125-133
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• 2007

While films today offer spectacle to the viewers due to the advanced technique, the "Modern Cinema"-a term named by Deleuze- offers spectators an opportunity to think about what they observe and to have various filmic experiences through the shifting of time image within the film narrative, which has been rather neglected as it is just a form in the realm of classic narrative. Originally the shifted time image was a result of thinking about the identity of a film. But it has self-reproduced over and over, and now it has turned into one of cliches that narrative films take. In this sense, a Korean Melodrama "Sarang-ni" is discriminated from other films which take twisted time image as a convention. The film "Sarang-ni", instead of adopting established shifted time image, put us to the confused time arrangement and then it amazingly arouses emotional effect which it initially meant to convey. This journal analyzes how the time representation of operates in the film's narration, and consequently how the form affects the storytelling.

• The Journal of the Korea Contents Association
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• v.21 no.8
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• pp.60-68
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• 2021

The purpose of this paper is to examine the formal characteristics of , which has been screened on Netflix since 2018. This film can be considered an interactive narrative because it gives viewers the opportunity to select their own narrative forks which lead to various endings. However, it also limits viewers' freedom of interactions in many ways, resulting in the pessimistic narrative world of series. In this contradictory situation, the conflict between the user's selectability and the narrator's authoriality emerges. And this collision gives rise to a complex form in which nonlinear interactive and linear narrative forms blend together. It can be understood as a form of self-reflection, such as forms of the metalepsis and breaking the fourth wall. In this paper, this particular form will be regarded as a sort of reflexive intermediality, i. e. the form for media reflexion.

• 기호학연구
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• no.54
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• pp.147-175
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• 2018

This article will examine the interaction between individuals and community in the Late Chosun Dynasty Catholic apostolic narrative and the representational narrative about the life of the apostate. For this purpose, This article will discuss the interaction of individuals and community focusing on the apostasy narrative in Charles Dallet's Histoire de l'Eglise de $Cor{\acute{e}}e$. Based on the interaction of individuals and community. This article will examine the different aspects of life about Jeong, Yak-jeon and Park, Cha-dol described after the apostasy in Kim, Hoon's Heuksan. Especially, This article will discuss the different of social spirituality and individual spirituality in the process of faith formation and the process of forming self-identity after apostolic. Beyond understanding apostasy through the outcome of action, the above discussion will enable a comprehensive approach to the process of forming a self-identity and practicing faith as a Catholic believer in the social community. And also beyond the fragmentary understanding of apostasy as an abandoning faith, it will provide the possibility of broadening the understanding of various religious experiences of individuals as a Catholic believer in the Late Chosun Dynasty.

• Korean Journal of Culture and Social Issue
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• v.28 no.2
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• pp.83-106
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• 2022

The current study examined the effects of the type and context of self-talk on task performance, task-post emotion, and perceived stress. Participants were 100 undergraduates in Busan. Participants were randomly assigned to one of four the experimental groups that were set by combining the narrative condition (the first-person versus non-first-person) to the content condition (self-reinforcing versus self-critic) to measure their pre and post intervention responses. For the analysis, we performed two-ways analysis of variance using the difference value of dependent variables comparing the pre and post-intervention. As a result of the analysis, we found that content condition of self-talk significantly influenced task performance, task-related confidence, emotion response, and perceived stress. That is, the self-reinforcement self-talk group showed better performance, higher task-related confidence, more positive emotion, lower negative emotion and less perceived stress than the self-critic self-talk group. The contents conditions of self-talk interacted with the narrative condition of self-talk to predict perceived stress, indicating that only non-first person/self-reinforceing self-talk group showed reduced levels of perceived stress.

• Cross-Cultural Studies
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• v.45
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• pp.479-496
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• 2016

The aim of this essay was to investigate Marlow's desire for constructing enlightenment subject of knowledge and power sustained by the collusion of imperialism and patriarchy in Joseph Conrad's Heart of Darkness. Marlow's narrative, based on his journey up the river in Africa to retrieve Kurtz, attempts to conceptualize himself as the subject of the enlightenment reason and rationality. In the novella, collusive network of ideologies of empire and gender contributes to the making of a Western Enlightenment subject. Marlow eulogizes himself for realizing the harsh realities of imperialism, political domination and economic exploitation of the natives in Africa. However, Marlow is a colonial subject who has been ruled by the hierarchical system of thought in the Western logocentrism. He is not aware that his narrative has already been infiltrated by the ideological discourse of the totalitarian enlightenment. His narrative in effect is not a self-congratulatory testimony to truth and realities but a narcissistic and self-defeating document. Marlow unconsciously employs the totalitarian ideologies of empire and gender in order to relegate the African natives to the inhuman existence and to consign women to the sphere of illusion.

• Journal of the Korean Home Economics Association
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• v.47 no.9
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• pp.55-69
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• 2009

The purpose of this research was to analyze scolding experiences of three parents with children of same gender. For this research, a narrative inquiry was used as the research method. The research results showed that scolding toward children and scolding from parents resembled each other while the experiences of the three parents regarding scolding were revealed as the following four larger themes and three smaller themes: mimicking the scolding of their parents (taking on the parental role toward the projected, internal self of the past, acceptance of familiarity, providing a safety fence to the children), transforming the scolding of their parents, projecting the unsolved task of parenting to children, beginning to transform and evolve scolding, and cautious practice within daily living. In the discussion, methods for transforming and evolving scolding based on experiences of the three parents regarding scolding were studied, while research on parents scolding children with differing genders and how positive experience such as praising, encouragement, and support, from parents reemerged within children are suggested.

• Journal of English Language & Literature
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• v.58 no.2
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• pp.347-378
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• 2012

Holocaust fiction has always raised the moral and aesthetic questions about the nature of mimesis and the literary representation of atrocity. The Holocaust, defying any representation of it, has been considered as unspeakable, unknowable, and incomprehensible. This essay aims to explore Martin Amis's narrative strategies in Time's Arrow to conduct the difficult tasks of re-creating the primal scene and of discovering a moral reality behind the Holocaust. One of the major narrative experiments in Time's Arrow is the time reversal: the story moves from the present of phony innocence to the past of unrelieved horror. Reversing the temporal order of events reverses causality and generates the revision of the morality, ultimately creating the epistemological and ontological uncertainties. Amis's novel is also narrated from the perspective of a double persona of the protagonist who, as a Nazi doctor, participated in the massacre in Auschwitz and then fled to the United States following the war. As almost a self-conscious storyteller, the narrator shares a sense of retrospective guilt with the reader who finally realizes that the Holocaust was a world turned upside down morally. Amis's postmodern narrative strategies are unusual enough to warrant a new way of representing the Holocaust.

• The Journal of the Korea Contents Association
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• v.14 no.9
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• pp.85-92
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• 2014

This study analyzes what kind of representation strategies make popularity in Silence. As audiences come together in cyber public sphere, 'participatory spectatorship' is made. Its sources are classical narrative mode and collective memories which are the devices to goad audience to anger. Silence reveals self-reflexivity because fact-based film has effect on allowing the audience to be aware of the reality constantly. However, the devices which maximize audience's anger aroused ethical controversy. Silence's unethical expression is the strategy for representing the popularity and the methodology for social ethics.

• Cross-Cultural Studies
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• v.29
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• pp.233-256
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• 2012

This paper aims to look into various symbolic meanings of the body shown in the film, Avatar (2009, James Cameron), and to ponder over a variety of media strategies carried by the pursuit of the corporality shown in this film. In a nutshell, the body in Avatar is a symbol of primitiveness rather than civilization, and the body language is a fundamental and effective means of communication much better than verbal language. A variety of physical contacts that appeared in many scenes of the movie emphasizes the role of the body as a means of real communication. Also, in the composition of the film dominated by the confrontation of civilization, numerous creatures in the planet Pandora with a variety of colors as well as a number of agencies and large body sizes express primitive richness. The narrative of the film telling the story of a 'moving' body ultimately emphasizes the superiority of the body with respect to consciousness, unlike the narrative of conventional movies dealing with the problems of the body. In addition, the corporality pursued by this film implies several important media strategies. It may reveal a self-reflection of the material civilization and the imperialism, or, on the contrary, an attempt to conceal or dilute them. It may also represent a self-reflection of the overdeveloped media technology, or simply the dilution of it. Finally, it may be an attempt to recover the feeling of "presence", not fully supported by the 3D technology, by the identification of the spectator's body and the character's body.